2000. Sentieri Interrotti (Vanished Paths) - Crisi della rappresentazione e iconoclastia nelle arti dagli anni Cinquanta alla fine del secolo (Crisis of Representation and Destruction in the Arts from the 1950s to the End of the Century)

I found this book in a Half-Price bookstore for a reasonable price. It looked like 'the sort of thing I'd be interested in' so I got it. Later, I was at a Mexican restaurant leafing through the book &, Lo & Behold!, I came across Roberto Bui's brief mention of me:

I was delighted (Thank you, Roberto)! However, a correction's in order: I am NOT a "swimming champion". I don't know how that rumor started, I suspect that I told a friend that I was a fairly accomplished swimmer as a child & that, one time, I swam a mile. That's true. But I swam the mile at my own leisure in laps in a quarry that was a swim club, probably with a fellow swimmer. It wasn't a competition or even that big of a deal. I just wanted to see if I could do it. I might've been around 12. Anyway, as an adult, my swimming days are long behind me. I don't live anywhere where the type of swimming I prefer is available.

I DID contribute to "The Open Pop Star" CD. My thanks to the people who invited me. I find Bui's description of it as a "very noisy free jazz number" interesting - but I wouldn't, personally describe it that way. I DO take that as a compliment considering that Bui (under the name of "Wu Ming 1") wrote & selected "A Free Jazz Anthology" called "The Old New Thing" using materials taken from the ESP label's archives:

As an introduction to ESP, look at the following scans from my own archive:

Note that the cover from this ESP Sampler has artwork that's reused in "The Old New Thing":

Back to the ESP Sampler:

I love the music known as "Free Jazz" &/or "The New Thing" although, for my own purposes, I often refer to it as "Out Jazz" - partially as a reference to Eric Dolphy's records entitled "Outward Bound", "Out There" & " 'Out to Lunch!' " (written everywhere but on the front cover as simply "Out to Lunch"). However, Free Jazz came out of jazz & sounds like jazz & was/is played by jazz musicians:

My own (M)Usic, at least in the case of "Whoop up @ the Funny Farm" comes more from a live Musique Concrete / Electro-Acoustic Music lineage. The instruments used on the above-pictured Ornette Coleman recording are ones typically associated with jazz: alto sax, bass clarinet, pocket trumpet, trumpet, bass(es), drums. The instrumentation used on my piece was sampler/sequencer & 2 wave-table synthesizers - both programmed by myself in the sense that I recorded the samples of friends & created sequences for them & built the wave-table synthesizer sounds from their most basic available components.

I sometimes call the way that I then play these materials spontaneously: "Concrete Mixing" as a pun off of "Musique Concrete Audio Mixing" & the construction practice of "mixing concrete".

As much as I love Free Jazz & as much as I'm honored by Bui's association of me with a tradition that includes such great players, I think that my own playing is considerably outside that lineage. I don't also find it to be "very noisy" although I can understand why others might.






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